You have to admire Phoebe Bridgers for trying something different on “Lost Weekend”: a departure from her usual indie-folk into a more atmospheric, ambient soundscape clearly inspired by Bon Iver. The songs are beautifully produced, wrapped in thought-provoking lyrics, and drenched in a dreamy feel. The best examples would be ‘Haunted’, ‘Bobby’, and ‘Still Standing’. Highlights also include ‘Lost Boys’ and ‘I Can’t Wait’.
The new sound may be interesting, but it tempers the album’s energy. The floating production complements the themes of grief and reflection, but the tracks’ space starts to blend too much, and the record feels more meditative than memorable. You won’t feel the energy of her earlier material, and more than likely feel a bit underwhelmed by “Lost Weekend”.
The album is dreamy, beautiful, and ambitious, and definitely a new beginning for Phoebe, but this record is far too quiet if you are looking for something more energetic. I have mixed feelings about whether I like it.
Song recommendations: ‘Still Standing’, ‘Haunted’, ‘I Can’t Wait’
The Reytons are brimming with confidence on “A Love Letter to a Broken Town…”. They haven’t changed their style since success; they have used it to give the fans what they want. The album is packed with catchy choruses, big riffs, and energy that will get the crowd going in any venue.
Of course, since they first broke through, they have been compared to fellow Yorkshire band Arctic Monkeys, especially when Jonny Yerrell sounds identical to a young Alex Turner, as I discovered from my previous review of the then-unsigned indie band. Unlike the Arctics though, they’re heavier and have a more powerful sound that sets them apart.
Let’s begin by looking at the opener ‘Jukebox’, which is full of nostalgia, working-class pride, and energy. ‘Busker’s Paradise’ tells a great story of a town fading away.
‘Hello, How Are You Today’ has strong energy, but is their most thought-provoking.
Those 3 tracks show the band’s progression, but they still stay true to themselves with their grit, humour, and honesty, which helped their popularity soar.
I loved the record’s consistency. It is hard to choose a favourite, but those 3 tracks I singled out are the best on there for me. However, every track brings value. Actually, I am going to add ‘Best Night of His Life’ because this is going to get the crowds going.
The energy seldom dips, so overall, it is an extremely pleasant listen from the outset. It underlines once more that guitar music is far from dead. The album has bite, heart, attitude, and a loud, guitar-driven edge. I can see it being nominated for the Mercury Prize next year.
Song recommendations: ‘Busker’s Paradise’, ‘Hello, How Are You Today’, ‘Best Night of His Life’
“Music, Fashion, Film” took me by surprise. I was expecting the usual electronic-influenced sound from Charli XCX, but she tried a bold rock sound. It was very refreshing, despite the album being a bit hit-and-miss.
My recurring issue with her songs is the heavy use of auto-tune. Tracks like ‘2007’, ‘Wink Wink’, and ‘Persona’ are spoiled by it. They all had potential, too. As ‘Magic Metal Montana’. The drum intro reminded me of Blur’s ‘Song 2’, but then the pathetic auto-tune saturates it.
The highlight was ‘SS26 ’, a politically-charged track that captured the album’s energy and confidence. The others were ‘Camera’, ‘I’m Afraid’, ‘Yeah’, and Card Declined’. I’m pretty sure on the latter I heard a hidden track at 2:44.
The closer, ‘No One Lasts Forever’, is something that Phoenix might do, albeit not the melancholic, repeated spoken-word verse on the outro.
Another thing to admire is the artwork. It depicts 3 representatives from the record’s title: John Cale, Marc Jacobs, and Martin Scorsese. Despite the unnecessary use of auto-tune, I liked seeing Charli try something different and try out an in-your-face rock album.
Song recommendations: ‘SS26’, ‘No One Lasts Forever’, ‘Card Declined’
I cannot believe it! I actually like a Muse studio album! They have finally captured some of that explosive energy from their live shows in the studio. Something that has always been missing. Muse are fucking brilliant live, but their records always seem flat. This one finally has a live feel.
My ears pricked up from the intro of ‘The Dark Forest ’; you can feel that energy. ‘Cryogen’, ‘Hexagons’, and ‘The Sickness in You & I’ have that dramatic Muse sound with huge riffs.
‘Nightshift Superstar’ and ‘Unravelling’ bring something new to the table, with their groovy feel, but it’s still unmistakably Muse.
The album ends on a sci-fi vibe with ‘Space Debris’ and an emotional note.
What I fucking loved about the record was that the songs had that live energy. They are not suffocated by heavy production. They just let that raw, urgent energy that we experience live take the lead. Fucking at long last. The choruses are as usual stadium-ready, every riff has to be heard with an ever-increasing volume to hear them in all their glory. Those songs mentioned will be embraced by the fans on the tour.
This is one of their best records ever. They have finally realised they can capture a fair bit of their live magic in the studio. Whatever songs are picked for the tour will be absolutely amazing.
Song recommendations: ‘The Dark Forest’, ‘Nightshift Superstar’, ‘Hexagons’
This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
“How Did I Get Here?” is the third solo album by Louis Tomlinson. It features upbeat anthems and is thought-provoking. It further shows how he has evolved from his days in One Direction with meaningful lyricism and catchy songs.
Let’s now address some of the key tracks:
Lemonade:
Well, if you have not heard this, where have you been? It’s been played heavily across the airwaves. The opener features groove-heavy guitars and an upbeat, summer-vibe melody over breezy pop.
Palaces:
My absolute standout on the record. It’s packed with indie-rock energy, with reflective lyrics that address fame and relationships. You can tell how much indie influences his sound.
Dark Light:
The most emotional track on the album. This acoustic ballad discusses vulnerability, grief and loss.
Imposter:
This one reminded me of Empire of the Sun’s music. It addresses self-doubt and identity over atmospheric soundscapes and pulsating bass.
Sunflowers & Lazy (Two tracks):
Upon hearing these, I had to check to see who the producer was, because I was sure it was Tame Impala’s Kevin Parker. It wasn’t, but they had that bright psychedelic rock feel synonymous with Tame Impala.
Lucid:
The album closes with a gentle yet melancholic soundscape that ties back to the record’s title theme.
I prefer “How Did I Get Here” to his previous album. It shows another confident step forward, with its craft, varied emotions, new soundscapes, and meaningful lyricism. I didn’t see much mainstream pop on display, but indie rock, lo-fi, and psychedelia. Tracks like ‘Palaces’ show that he’s starting to settle as a solo artist. The album is a fine balance of uplifting and reflective tracks that keep the listener interested.
Song recommendations: ‘Palaces’, ’Sunflowers’, ‘Lucid’
A track-by-track review with a bonus track thrown in:
Rocket (feat. Tony Iommi):
This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.
Spies:
The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.
Pretty Face:
Didn’t like it. Too poppy for me.
Bite Your Tongue:
An alternative rock track with spoken word. It may feel odd, but it is playful, adding something different to the album.
Cocky:
Stomping glam-rock energy that’s fun with plenty of swagger.
All My Life:
An Oasis-inspired reflective ballad discussing dreams. Providing one of the more emotional moments on the record.
Human (feat. Jesse & Joy):
Another reflective ballad.
Morrissey:
Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with the former Smiths frontman.
You:
Same attributes as ‘Bite Your Tongue’.
It’s OK Until the Drugs Stop Working:
I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.
Pocket Rocket:
An ethereal and dreamy closer of the standard edition.
G.E.M.B:
I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.
Coda:
“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.
Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’
This will not be a long review as I was pretty underwhelmed by Florence and the Machine’s latest album “Everbody Scream”, although I did like the rhyming theme to it( Florence and the Machine, Everybody Scream, Released on Halloween). Rather than being a record that’s enjoyable, it’s a more important one. Why? Because the momentum is light, but the atmosphere is heavy. Don’t get me wrong, it doesn’t affect Florence Welch’s vocals, because as always, they sound incredible. Despite the grandiose sound with the cathedral-sized intensity that every song wells up to, it starts becoming a bit boring. There are no real highs or lows or contrast, which just leaves an ethereal fog of emotion throughout
The lyricism is quite disappointing,too. Something that Florence usually excels at finding the balance of poetic and primal, feels too self-absorbed. They are too reflective, with little variation. I found that I was always waiting for something more like a beat drop, a hook, or something far-out, which unfortunately never materialised.
Although I do have some song recommendations, because I did find the choir (I think that’s what I meant)sections quite angelic, and the wonderful instruments like the harp, I found most of the record boring. Yes, the album is beautiful and bright with colour, but it becomes a bit too much. Your attention starts to waver after a few tracks. My analogy for it would be that the ground is white with snow, but instead of admiring its beauty, you want to go outside and enjoy it before it melts.
Song recommendations: ‘Sympathy Magic’, ‘You Can Have it All’, ‘Everybody Scream’
I recall telling you all that I was impressed with their previous album, “Blue Weekend”, which was released four years ago. As we all know, that is a long time in music; therefore, it is easier to be yesterday’s news. However, the period between “Blue Weekend” and “The Clearing” has seen them remain fresh and avoid the block, and they have certainly been working hard to make something special.
Markus Dravs was the producer last time, and this time they have employed another top producer, Greg Kurstin, and dare I say it, but he has bettered what Markus did. We have frontwoman Ellie Rowsell’s soul laid bare in songwriting and fantastic vocals with profound instrumentation. This record, much like “Blue Weekend”, is more autobiographical regarding Ellie, where she delves into her life experiences with utmost honesty.
Wolf Alice have never shied away from exploring new sounds despite them being heavily pigeon-holed in the indie punk category. There are new layers with every song you hear. Even though the band have been together for going fifteen years, the chemistry is still there, and it appears they are tighter than ever.
The opener ’Thorns’ shows their intent. Ellie confesses to being a narcissist and a masochist on this storm-cloud ballad. Quite a surprise to hear her say that. You would never have her down as a narcissist. We then have the confidence of the lead single,’ Bloom, Baby, Bloom,’ featuring a drum and bass element. We then have a track called ‘Just Two Girls’, which celebrates friendship between two females. The intimacy of this friendship is so palpable that it will resonate with the listener, evoking a deep connection.
However, it’s moments like ‘Leaning Against the Wall’ that capture the meaning behind Ellie’s lyricism and just an acoustic guitar on the folk track to drive the point home. Another one that highlights Ellie’s words is ‘Play It Out, which is a highly emotional piano ballad that will certainly move the listener. It addresses Ellie opting not to have children, but maybe as she grows old, she might repent at leisure.
Yes, the album has quite a bit of introspection, but it never becomes overly introspective. We have rock-pop energy in ’Safe in the World’, ‘Bread, Butter, Tea, Sugar’, and ‘Passenger Seat’to lighten the mood. It showcases the band’s ability to transition seamlessly from raw energy to introspection.
The end has two tracks that are in each of the spectrum: ‘White Horses’ offers the energy, and my favourite track ‘The Sofa’ sees Ellie reflect on her life and what she desires over tender instrumentation that is quite dreamy. It is indeed a track that took me by surprise when I heard it on Later…with Jools Holland, in the spring, because it is nothing like I have ever heard them do before.
You will hear several influences, including Florence and the Machine (Markus is known to produce for them), The Beatles, the late Sinéad O’Connor, Portishead, and, dare I say it, Taylor Swift. Having said that, Wolf Alice still maintains their identity. What the band have achieved on this record is how the emotion increases track after track, leaving the listener feeling the impact. Of course, the album is not complete without Ellie’s unmistakable vocals that range from intimate and soul-bearing to the power we hear on the high-energy tracks.
“The Clearing” showcases the band at their most confident, fearlessly displaying raw emotion and delivering tracks that are destined to be timeless. The album’s frank honesty, although it may be slower-paced than their usual style, is refreshing and showcases their versatility. I am certain that this record will receive several accolades shortly.
Song recommendations: ‘The Sofa’, ’Safe in the World’, ‘White Horses’
My introduction to the Merseyside band came from a Mod film from 2020, and I’ve also been following several mutual fans on Twitter, so I have been in the loop, so to speak. I didn’t realise how good they were until I saw their cameo in the film. I’m shocked it took four more years to release their debut album, which I’ll discuss shortly. This band is phenomenal, and for me, they are the next Arctic Monkeys. “Pretty on the Internet” proves that.
So their debut was titled “I Wonder if the World Knows?”, released only last year, which did not get the credit until after its release, but never reached the top spot. I do not know why. It is brilliant. You can see why the guitar-driven indie rock reached No. 3. It was always going to be tough when they faced stiff competition from Beyoncé and fellow rockers The Libertines. Both of the latter reached the top spot.
Here is how good it really was: it was named the second biggest debut record of 2024. You can see why the second album has soared to the top spot. They are growing a devout fanbase and have the passion and drive to be a success. As mentioned in the Wet Leg review, it is always a challenge to exceed expectations on the second record, but The K’s have done that.
They have started where they left off with “Pretty on the Internet”. They have found their identity, which includes melodic guitar riffs over a powerful and fast-tempo wall of sound. Akin to their counterparts, Arctic Monkeys, The Libertines, The Coral, DMAs, bands like that.
However, underneath all the noise, is frontman and chief songwriter Jamie Boyle’s more delicate nature as he writes songs that are laced with vulnerability and honesty.
Something that will be highlighted in the following paragraph. His lyricism relates to the listener, and his vocals are strong and clear. Showing his ability to write songs in the background and lead the band onstage.
Returning to Jamie’s vulnerability and honesty. That shines through on the lead single ‘Breakdown in My Bedroom’. He addresses, with frank honesty, his struggles with mental health. Saying that, even though he is in the limelight, he tries to hide his actual emotional state underneath his onstage persona. Then we have anthemic tracks like ’The Bends(Here We Go Again)’, which shows the band’s ability to craft melodies, and choruses that the crowd will be singing back to them during their live performances on their forthcoming tour. At present, I believe they are also doing the festival circuit. This is why the atmosphere during their gigs is electric. The record is set to be played in full during five gigs next month.
The album isn’t just all about guitar solos or pulsing drums. There are more tender moments as heard on ‘Helen, Oh, I’, where strings and the pianos are at the heart of the track. It gives you a chance to catch your breath from a record that is otherwise going at 100mph. I love the synchronisation between Boyle’s reflective lyrics and the exemplary instrumental arrangements. They have treaded new ground with some more introspective tracks, and I do not doubt that they will continue to explore that.
The album closes with ‘Perfect Haunting’, a track that further pushes their horizons as they flirt with a more theatrical sound. It’s something to look forward to on future tracks as they show their expanding versatility. The band fuses pop-punk rhythms and raw energy with punchy rock, flavoured with indie songwriting by Jamie.
And it’s this unique blend that is not only proving popular among their peers but also attracting a growing fanbase. As they look to rise through the ranks, it’s clear that you, as part of this movement, are in for an exciting journey.
The band are not interested in being a band for nostalgia, but rather rhythms and hooks that belong in the now. They are also outshining their peers with their distinctive wall of sound. With two outstanding records under their belts, watch them grow from support acts to headliners. I thoroughly enjoyed the listen, and I think you will too.
Song recommenations: ‘The Bends(Here We Go Again)’, ‘Breakdown in My Bedroom’, ‘Perfect Haunting’
Honest Opinions 